GREEN Surely Mr. McOnie worked and entertaining. In the incredible feeling of the musical numbers, the ensemble goes off as a beam of enjoying too many people who play charades. But here is my question to you: Was anything, other than two or three Kong phrases, did you enjoy?
BRANTLEY Not really. I did not hope that an advanced camp factor would be able to kick in. When Ann's poorly ill for Kong, and makes whips for her housekeeping and small luggage, I am keen for Madeline Kahn's re-affair, which made so pleasant grass of similar material in "Young Frankenstein."
GREEN This camp is all accidental. The Skull Island jungle looks like a green spaghetti with flame balls. (The scenic designer and projection is Peter England.) But the music's stresses and the oversight of the staging never allow you to laugh, and so enjoy, the mystery of the story.
BRANTLEY It was agreed. By the way, if you look at the Australian incarnation accounts five years ago, who had a book by Craig Lucas, it included a number of characters, including Ann's love interest. In this version, there are three human characters effectively: the agency that seeks Ann; the chauvinistic, evil-mogul Carl; and (oh, dear) his lightweight, lightweight assistant, Lumpy (Erik Lochtefeld).
GREEN The previous authors who were banned during the development of the musician are drawing bullet here. But Mr Lochtefeld really succeeds in giving sincere performance and human scale, even if most of what he has to say is hogwash maudlin.
BRANTLEY Yes, even the screams are scarce eloquence. Fay Wray, the star of the original, is best remembered because she has heard a great deal of terrorism when she's the big man's edge. But our dear Ann is incapable of screaming in fear. Instead, she's wandering, and that's what she attracts her soul, kicks her to her. Unfortunately, I did not hear much of the power of Katy Perry screaming the Ms. Pitts.